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File: 015685f51ad2fb0⋯.jpg (38.12 KB, 500x285, 100:57, Gainax.jpg)

File: 0ca687d9c74de0a⋯.jpg (30.75 KB, 538x357, 538:357, Novel-poweredsuit-illust-c….jpg)

 No.912700

I hope this makes sense, but I'd like to have this thread to help present and discuss the history of the Industry and Otaku to help anons understand where everything comes from. This includes studios, tropes, cons, people, merch, otaku, and whatever else comes to mind.

To get us started, here's a list of things the average anon may not know about:

<Notenki Memoirs

This is required reading for every /a/non. The full text with annotations can be found here:

https://www.gwern.net/docs/eva/2002-takeda-notenkimemoirs

It goes over, among many more things, the origin of otaku, SF clubs, cons, doujin, merch such as garage kits, Daicon, and the forming of GAINAX, this last being what I consider the greatest story about anime and Otaku. This autobiographical book is short, but gives a very good description of where we come from and is a good basis for understanding everything about the industry today.

Good supplemental material to this is Otaku no Video and Aoi Honoo.

<Otaku no Video

A psuedo-documentary anime on Otaku and the founding of Gainax, by Gainax, including their old vision of the future. I take it most of us have seen it already, but it's always a good one to revisit.

<Aoi Honoo

This goes hand-in-hand with Otaku no Video and Notenki Memoirs. An autobiographical manga by an otaku who went to school with Anno, Akai, and Yamada, the main founders of Gainax. It was adapted into a live action drama that is very entertaining and takes scenes straight from Notenki Memoirs.

<Powered Suit

Colloquially known as "Mech suit" today, unfortunately. This comes from the suit of the Mobile Infantry in Starship Troopers, because it didn't have a physical description in the novel. For the Japanese release of the book, the illustration on the cover became known as the Powered Suit, and, aside from directly showing up in various older anime, this illustration set the groundwork for all Mechanical Design in the industry today. You can see it in pic 2.

<Hideo Azuma

Known as "the father of lolicon and bishoujo" within anime and manga, he used to attend all the old SF cons talked about in Notenki Memoirs. White Cybele is the first ever loli manga, and many of his works has are SF and loli-themed. As such, he has been very involved in otaku culture all his life. Nanako SOS and Little Pollon are anime based on his work.

<Toshio Okada

One of the founders of Gainax and known as "Otaking". He, along with the author of Notenki Memoirs, was the one who brought everyone together to make the Daicon anime, and would always have very extreme and passionate suggestions at every opportunity. He now often lectures at universities on Otaku culture and currently has a YouTube channel where he talks about Otaku things.

https://www.youtube.com/user/toshiookada0701

<Takami Akai

One of the three great founders of Gainax with Anno and Yamaga. Seen as a genius illustrator and software developer. He made Princess Maker, the first ever raising simulation game like Idolm@ster today.

Later, he also drew the character designs for Crest of the Stars.

<Hiroyuki Yamaga

One of the three great founders of Gainax along with Anno and Akai. An absolute madman who has no real skills of his own, but would always proclaim he'd be famous one day. He "directed" the Daicon anime, Royal Space Force, and later Gainax titles. He had an IQ test of 40 in grade school because he autistically thought about each problem until he ran out of time, and always introduces himself by tracing "Yama" in the air, even to Tezuka Osamu.

<Tezuka Osamu

Needs no introduction. The godfather of manga and anime.

<Anno

Sasuga.

 No.912706

File: 0e09e09747fc2bc⋯.png (1.61 MB, 1931x2774, 1931:2774, 0e09e09747fc2bc39e41e5a967….png)

Anon posted a really interesting book a while ago titled Adult Manga by Sharon Kinsella that was a very interesting read.

Goes very in depth on the entire history of it, from the very beginnings pre WW2 to the production and distribution cycle (in the 90s) to the shift from being associated with leftists/outcasts to being adopted as a symbol of Japanese nationality. Pretty objective minus a few quips about sexism.

Unfortunately I don't have it on this device. I'll try to post it later, unless someone else has it.

Nice thread, by the way OP.


 No.912707

>>912700

>Colloquially known as "Mech suit" today, unfortunately. This comes from the suit of the Mobile Infantry in Starship Troopers, because it didn't have a physical description in the novel. For the Japanese release of the book, the illustration on the cover became known as the Powered Suit, and, aside from directly showing up in various older anime, this illustration set the groundwork for all Mechanical Design in the industry today. You can see it in pic 2.

I never knew that it come from the original Japanese cover of the novel, but I do remember seeing it in Daicon III and of course it also shows up in the Starship Troopers OVA. As far as I know, this is where the entire idea for mecha came from (the novel I mean). It was the idea of wearing the super robot instead of controlling it externally, like Giant Robo, or kind of internally, like Mazinger Z. Though Go Nagai stated he created the Pilder because he thought the idea of driving a super robot would be really cool. Tomino stated somewhere that Starship Troopers is where he got the idea for the mobile suits as well. This is hardly surprising given that Gundam 0079 was a hodge-podge of various sci-fi ideas.


 No.912709

>>912700

>All this boring shit

>Otaku

Kill yourself.


 No.912711

File: 33593ad545fc02e⋯.png (61.59 KB, 472x254, 236:127, 33593ad545fc02e93f83206daf….png)

>>912709

You should kill yourself instead, faggot.


 No.912715

From Notenki Memoirs:

>Some fans are picky about what is true sci-fi and what isn’t. Even if the definition of science fiction is rather vague, it doesn’t stop some people from getting into heated debates over it—sometimes for nothing other than to prove how they themselves are “true fans”. The debates tends to hinge on whether a given show contains a “sense of wonder” (vis-a-vis science), but the phrase itself is equally hard to define. You often hear twisted criticisms like, “The film was well-done, but mediocre as a sci-fi.” In contrast, other fans are simply keen on things that haven’t been done before, and are willing to embrace almost any new concept as “sci-fi”.

We even still had this discussion the other day.


 No.912719

>>912709

Go back to cuckchan you ADD underage faggot.


 No.912721

File: afaf91bc69d438f⋯.gif (53.8 KB, 285x475, 3:5, Novel.gif)

File: de04448ed4d00c5⋯.jpg (39.13 KB, 484x544, 121:136, St(1976)-poweredsuits-1.jpg)

File: 0a07269e62ff4ea⋯.jpg (367.41 KB, 1270x2039, 1270:2039, St80bb.jpg)

File: 53a6b9400c5e216⋯.jpg (32.75 KB, 308x380, 77:95, St(1976)cover.jpg)

>>912707

There were several different designs for the suits, but the Japanese one is the coolest.


 No.912723

>>912721

It also makes the most sense based on how they operate in the book. The suits are described as having shoulder mounted bomb-launchers and the troopers carry rocket launchers and flamethrowers. The suits also have the ability to jump and jet around. There's not a single gun in the whole book as I remember it.


 No.912724

>I had very little interest in anime back then, so I wasn’t expecting anything spectacular. When I was introduced to Anno, I said something like, “They say you can make anime. What kind of stuff can you do?” At this, he whipped out a pad of accounting paper and started drawing. After a bit, he held the pad up and flipped the pages rapidly. A Powered Suit  ran across the paper.

>I was stunned. I remember thinking, This guy’s incredible! It’s hard enough drawing a single Powered Suit with all the lines and complex shapes, but here he was animating one right in front of us. I’d seen a flipbook comic before, but this was the first time I’d watched someone actually make one. And for something he had just drawn up on the spot, it was really, really good.

>That settled it—we were doing an anime for the opening film. And while Sawamura and I were getting all fired up and excited, Yamaga, who was sitting next to us, leaned back too far in his chair and crashed to the floor. The table was in chaos.

>“What happened‽” we cried, scrambling to help him back up. “Are you alright?”

>His response: “I had the hiccups, so I was holding my breath to get rid of them. I guess I forgot to breathe again.”

>A man who can make Powered Suits moves, and another who collapses because he forgot to breathe. What a pair! It was a meeting I’ll never forget.


 No.912728

YouTube embed. Click thumbnail to play.

>General Products (The SF goods store that is the precursor to Daicon Film and Gainax, named after an alien trading company in Larry Niven's Ring World) and Okada were featured in the TV news program ズームイン朝! (“Zoom in the Morning!”); a clip of the store can be seen on YouTube.


 No.912729

Here's a travelogue of some Americans going to Gainax in 1999.

http://web.archive.org/web/20040203105028/http://nausicaa.net/~michj/tokyo/990203.html


 No.912732

File: 3e489710e9d8c10⋯.jpg (126.72 KB, 1200x895, 240:179, 3e489710e9d8c10d727706bcd5….jpg)

>>912729

>1999

>^_^

Ah, those were the days.


 No.912737

There's a lot to be said about Macross being the first Otaku TV anime, of course. I think I explained it well enough in the Macross thread, so here's a few quotes.

From Notenki Memoirs:

<Studio Nue

>A group of sci-fi artists established in 1974. Among its members are Naoyuki Kato, Kazutaka Miyatake, Haruka Takachiho, Shoji Kawamori and Kenichi Matsuzaki. Generally speaking, their activities included illustration, movie planning and conceptual sci-fi design work, as well as writing novels and scripts. They’ve exerted an enormous influence in the realms of anime and special effects films. Just like GAINAX and General Products, this group started as a club of college buddies. The work Anno and the others had done on the DAICON 3 opening animation caught the attention of Studio Nue, who invited them to Tokyo to help out with the production of the TV anime Chojiku Yosai Macross.

From Toshio Okada's interview in Animerca magazine:

>Okada: He [Yamaga] was on the staff of the Daicon III Opening Anime. At first, Hideaki Anno and Takami Akai were the only two people on its main staff–Anno drew the mecha and the special effects, and Akai drew the characters and most of the motion. But then Yamaga appeared, and said he’d do the backgrounds. Then they all went off to Artland to study professional filmmaking, and worked on the original MACROSS TV series. Anno studied mecha design, and Akai had wanted to do characters, but he couldn’t because Haruhiko Mikimoto already had such an advanced technique. So when Akai realized he wouldn’t get the opportunity to do anything on MACROSS, he went back to Osaka. And it was there that Yamaga learned how to direct–his teacher was Noboru Ishiguro. Yamaga designed the storyboards for the opening credits of MACROSS.

And Sadamoto remarking on when he met Anno while working on Macross:

>Sadamoto: [I first met him when] I worked part-time drawing genga for the Macross television series as a University student. I would help out a little in between attending school. So I think the first [encounter] was when I caught sight of Anno-san at Artland. There was a unit called the “Mecha Squad,” which included (Ichiro) Itano-san among its members, who were all living there [at Artland] (laughing). The story would take some time to recount.

>Oizumi: No, please tell it at length.

>Sadamoto: I was attending the manga studies program at the Tokyo University of Art and Design. Mahiro Maeda was a student there, and he invited me to work together with him on Macross. When Maeda was in high school, (Takami) Akai-san had been an older student [at his school], and [Akai’s later] classmates at the Osaka University of Arts were Hiroyuki Yamaga and Hideaki Anno. In the beginning those three were all working on Macross. Akai-san quickly gave up on it and returned to Osaka, but Yamaga-san and Anno-san remained behind at Artland and helped out with Macross. Yamaga-san was placed in charge of directing an episode for the first time with episode nine…

>Sato: The storyboards as well?

>Sadamoto: Yeah, he ended up doing the storyboards and the direction, and [saw] he didn’t have enough people. Yamaga-san began searching for talented people in Tokyo, and when he asked Akai-san about it, [Akai] told him to use [an old] schoolmate of his in the manga studies program at the Tokyo University of Art and Design. So Mahiro Maeda, seeming not to want to go by himself, invited me to go with him. I had an interest in animation, so I assisted [on Macross] for about a year. During that period, I would from time to time catch sight of Anno-san. [I noticed,] “there is this tall fellow who sometimes walks around in his bare feet” (laughing).

>Takekuma: At that time, he didn’t give off a sense that you could approach him very easily, right?

>Sadamoto: I didn’t approach him. Anno-san, he was always talking to himself in a loud voice. You could understand what he was saying even from far away. You would hear this loud voice from the other side of the hallway: “I’ve got it! The timing of Itano’s explosions-!” (laughing loudly)

>Sato: That’s the same as he is now.

>Sadamoto: He would say “I’ve got it!” and suddenly begin drawing, and go to (Shojo) Kawamori-san, or some other director - my own immediate [supervising] director was Fumihiko Takayama-san - he would go to Takayama-san and explain the drawing in minute detail, saying how many frames it should take, and how things were to be arranged, and how it would disappear. So, when, seeing his intensity, I wondered who he was, Mahiro Maeda told me “That’s Anno-san; he worked on Daicon III.” “Ah, I see,” I thought. “He loves to draw mecha.”

>(From “Yoshiyuki Sadamoto’s First Meeting With Director Anno” / Schizo)

https://web.archive.org/web/20170721094633/http://1731298478.tumblr.com/post/52689158259/sadamoto-i-first-met-him-when-i-worked


 No.912738

>>912732

I only stopped using it when I was bullied on /a/ back in the day, but it was common among old anime fans on the internet.


 No.912745

Meeting Toshio Okada in 1995 at the first US con he attended.

http://web.archive.org/web/20050219233539/http://home.comcast.net/~hasshin/okada.html


 No.912746

YouTube embed. Click thumbnail to play.

Excerpts from Daicon Film's Ultraman film directed by Anno.


 No.912747

YouTube embed. Click thumbnail to play.

>>912746

The full Daicon Film Sentai parody film is also available on youtube.


 No.912749

>>912747

Interesting anecdote about that is that they got a lot of flack about the film by the older, self-styled "true Sci-Fi fans" for being "nationalist, right-wing propaganda" when they thought they were just having fun.

There seems to be a clear progression of values in the fandom. The SF cons began before the war, and then they all seemed to go through a left-wing phase and started acting like haughty intelligentsia, and then SF clubs and the otaku emerged and forgot all that bullshit. The Daicon guys butted heads with these guys a lot. They especially didn't get along with Tokyoites.

Also, the theme song to Dainippon is taken from Sun Vulcan, which is still the best Sentai. I want to learn the lyrics and sing it for karaoke instead of the Sun Vulcan theme.


 No.912755

File: 7cda0730eb515fa⋯.jpg (225.96 KB, 1223x2485, 1223:2485, daiconiv-costume-pageant.jpg)

>The 22nd annual Japan Sci-Fi Convention was held at Osaka Koseinenkin Hall in 1983. The 4,000 or so in attendance marked an all-time high for the event. The site was arranged as an offworld colony, and attendees were treated as immigrants to the planet. The colony was planned to the last detail, from the creation of an “authentic” broadcast station, right down to the printing of local currency. The two years spent preparing for the event, coupled with the production of three films in the interim, resulted in a very highly trained staff that helped make this rich and complex event a big success.


 No.912757

>>912755

Looks like two girls went as the Mothra twins, just left of center.


 No.912762

>>912755

>The faggot who shows up just wearing a full-body skeleton suit.

Some things never change.


 No.912764

>>912755

Me on the left posing cool, next to the guy covering his face.


 No.912773

File: 0c08a0e1b90e62d⋯.png (279.4 KB, 850x728, 425:364, 0c08a0e1b90e62df63cdc78155….png)


 No.912774

I hope this isn't too much information to pile onto the average anon at once. This is all like second nature to me, and I tend to rapid-fire info about things I'm into and assume some things are just common knowledge.

But I think this is the proper way to be as otaku. Like Takeda describes in Notenki Memoirs:

>I had assumed that I was extremely well-read, but after joining the club, I was surprised to discover that my upperclassmen had read a lot more than me. The amount of reading they did was frightening. And once I began talking to them, I discovered the incredible amount of information they actually knew. During the course of a single conversation they’d jump from one topic to another, go back to where they’d started, then take off in a different direction altogether. It was nothing more than idle chit-chat, but it was incredibly entertaining and I couldn’t get enough of it.


 No.912775

>The Conscience of the Otaking: The Studio Gainax Saga in Four Parts

https://www.gwern.net/docs/eva/1996-animerica-conscience-otaking

Also good supplemental material on the story.


 No.912776

>>912774

I'm definitely going to blow the best part of an entire day, next week, recapping this thread.

I had just downloaded a nice copy of Otaku no Video the other week so this must be a sign from kami-sama to get my shit straight.


 No.912779


 No.912796

Gwern is a treasure.


 No.912996

>>912779

>>912775

Reading this. How Okada explains the production of Gunbuster is hilarious. First, he tells Yamaga his idea, with all the SF elements and the ending Okaerinasa!, and Yamaga as he hears it images a silly baka girl-robot anime and writes the screenplay. Yamaga gives that to Anno, who only sees a Super Robot mecha anime and changes everything around again. Then, he gets so overwhelmed with opinions from everyone that he just tells Shinji Higuchi to draw the storyboards however he wants without even a screenplay, telling him it's a SF baka girl comedy super robot mecha anime.

They really were just a group of friends shooting the shit.


 No.913025

>https://vanishingtrooper.wordpress.com/2012/03/12/masami-obari-part-1-an-introduction/

I read this a few months ago. The fact that Masami Obari and Satoshi Urushihara were classmates in high school really stuck with me. I wish we could somehow see how these people were like before their professional achievements. Maybe they'd be nothing out of the ordinary, but who knows.


 No.913036

File: da0690e18ce3d06⋯.png (100.07 KB, 390x248, 195:124, da0690e18ce3d06ee0fd2ec73b….png)

>>912775

>>912779

>Okada argues that interactive communications are creating an inevitable ‘paradigm shift’ in Japanese society that will eventually move the average Japanese away from the tradition of regarding others’ values as most important, to regarding one’s own values as most important. This will happen, Okada maintains, because such phenomena as the Internet bypass the hierarchical ‘brainwashing’ of the mass media–TV, movies, etc.–and create an environment where everybody, as Okada puts it, can try to brainwash everyone else (WIRED has referred to this as the transition from ‘one-to-many’ to ‘many-to-many’). He goes on to describe how this will create new types of voluntary societal groupings: once people acknowledge their own values as foremost, they will seek out those who share those values, and social development will then revolve around study and coordination of said values, similar to Internet usegroups.

Okada predicts /a/.


 No.913045

File: 957ac874f7f229e⋯.jpg (25.23 KB, 225x337, 225:337, 12655.jpg)

Another good interview with Okada in 2003 with many of his famous (among Western fans) quotes that get thrown around from time to time. At least, they used to. Nowadays, newfags are so plentiful that I don't know the last time I heard the name Otaking on /a/ excluding from myself. It's hard enough to say "otaku" without having to explain myself lately.

Anyway, this is probably the most quoted Okada interview there is. Nowadays, anons mostly just vaguely reference "Gainax guys said something like this.", or otherwise they don't even know where it comes from. But this is the actual source for a lot of these claims.

http://web.archive.org/web/20080504115217/http://www.mit.edu/people/rei/manga-okadaluncheon.html

>Mr. Okada apparently said yesterday that in America, there are no mere "fans" or "consumers" of anime - there are only otaku. When I challenged him on this statement, he pointed out that here it takes effort to keep up with anime as an adult American. Hence, the effort marks adult anime fans as "otaku."

>Why is Japanese anime still sticking with the traditional large eyes, small noses, small mouths, and strangely colored big hair? Because it is an established art style (much like every artistic era's notions of beautiful art styles) that the fans love. Mr. Oshii is among those who don't like it - he also doesn't like cute female characters that encourage a growing sense of attraction and connection - however, since he can't find or develop a new style, he chooses to make anime that looks realistic instead.

>Anime industry people are, Mr. Okada said, 100% otaku.

>How have otaku in Japan changed in the past 20 years due to the influence of computers? Mr. Okada said that, in the past 10 years, otakus have seen less and less of a need to hide their otakuness. But more than this, the internet helps them connect with other otakus and make friends. However, a drawback is that they no longer sit under tremendous pressure - the dual pressure of loving anime and of yet having no outlet. The dual pressure often led to the person going out and doing something, but now, the fact they have outlets means they don't have the pressure pushing them to action any more.

>Mr. Anno ("Evangelion") apparently never read the Bible, despite the heavy Christian symbology of his work; he just (according to Mr. Okada) picked out a few interesting technical terms. Likewise, the anime creation staff might open a book on psychology and, rather than read it thoroughly, simply go through it picking out "great technical terms" to use in the anime!

>What's the difference between an fan and a creator? Mr. Okada suggested the difference is a very small one: it's the gap between "Yes, I'm 100% satisfied with watching this" versus the thinking, "Yes, this is nice but I could do it better." In some cases, even thinking, "I want to create something like this" will lead a fan to the path of creation.

>Unfortunately (Mr. Okada said), teachers in Japan teach creativity the wrong way. They tell their students to create something original. Mr. Okada suggested the best way is for a student to copy something over and over til his own' style coems out. Otakus start by copying manga or anime exactly, then start writing their own dialogue, and then go on from there.

>Finally, there was a stigma associated with being an adult; adults were, at some level, "denied." Not only is a child's growth to adulthood seen as acquiring responsibilities, but it is also seen as the person becoming more polluted or dirty.

>Hence (Mr. Okada argues), Hollywood coming-of-age movies show characters growing up and becoming mature, but Japanese culture prefers to show characters going back to the innocence of being a child.

>The Japanese society post-war, then, inherited the combined heavy weight of love of now with a deep distrust of adults.

The 1960s-1970s saw this attitude in the TV anime creative staff. The products therefore placed a sort of faith or belief in children, and likewise showed the issues and problems of adulthood.

>This resulted in the strange phenomenon that children's anime and manga became full of adult themes such as racism, rape, and poverty - and the adults did not mind the 10 year old kids seeing these issues. (When I asked Mr. Okada later for examples of these shows, he said they were too numerous to count. My impression is that shojo (girls') manga dealt frequently with issues of rape, and I know an example of a manga that touches upon racism is the classic Cyborg 009 manga)


 No.913117

>>913045

>Hence, the effort marks adult anime fans as "otaku."

I'm fine with this conclusion, but with the rising ease of anime for normalfags like with CR I wonder if the threshold that would be considered effort in 2019 would be different in Okada's eyes.


 No.913118

>>913117

I'm not sure there's any effort required at all to watch anime in the west these days. There are dubbed anime series available on Netflix, and the Ghibli movies are shown on TV in my country.

There's no way most casual "anime fans" can be considered otaku.


 No.913140

>>913117

It was 2003. You couldn't just download all anime you want from torrents, XDCC or watch it online, you had to buy shitty bootleg DVDs or asking people to burn you a copy of anime they own. Translations were even more shitty than nowadays. Now it doesn't take effort to watch anime at all. You just connect to the RSS feed and get the fresh episode of any anime ready to be watched hours after it have been aired.


 No.913143

>>913140

2003 had shitload of torrents. They was just hard to find and use for a normalfag, also many of them was Japanese.


 No.913145

>>913143

It the area where I used to live at that time the fastest internet connection was dial-up. You couldn't download much with it, or you would get insane phone bills.


 No.913149

>>913143

Is there even a Japanese piracy scene? Most torrents of Japanese stuff seems to come from chinks. I expect it isn't the sort of shit that would fly with their government, but people always find a way of getting around that.


 No.913168

>>913149

>Is there even a Japanese piracy scene?

Man was you living under a rock this whole time or are you just that new to internet? Japanese piracy scene is the only reason you even know about anime at all, and it still supplies us with plenty of content.


 No.913174

>>913117

>>913140

2003 was actually pretty good for anime availability in America. By then there was a lot available in stores (anyone remember Suncoast Video?) and it had been there for a while, at least since the mid-90s, when Ranma and Tenchi Muyo had popped up at the low low cost of $30 for one or two episodes (Ranma was $5 cheaper dubbed, as crazy as that sounds). This was the heyday of ADVision, CPM, Media Blasters, Pioneer, Viz Video, Manga Entertainment, and other distributors- a ton of anime on VHS (laserdisk never really took off) for those willing to buy it, and anime was booming despite those high costs.

However, it was also when modern anime distribution was in full bloom: a free-for-all of XDCC and torrent availability of fansubbed and ripped products that was rapidly making physical video sales obsolete. Laughable attempts at stopping piracy like J.A.I.L.E.D. only really targeted the physical bootleg piracy scene, which had no effect on everyone sharing things online. The modern anime scene is completely integrated into the Internet, with episodes streamed on multiple sites for people who can't be assed to even torrent or DDL, and the people who are a part of it are completely different as well. Okada was talking about a fandom that is effectively absent today.


 No.913177

>>913168

I don't mean people pirating Japanese media, I mean nips pirating nip media for other nips. Japanese trackers.


 No.913205

>>913177

There's a piece of P2P software called Perfect Dark which I think is predominantly used by Japanese pirates.

I'm not sure how popular torrents are over there though, or how big the scene is.


 No.913222

>>913177

Yes, they do it. Why else do you think other nips would upload it to torrents in the first place?


 No.913224

>>913177

Of course you know about the cel black market? Nips would steal cels from studios after they were used, just walk right in with phoney pretense and steal cels. It was good, illegal business and is how you can even buy random cels nowadays.


 No.913227

>>913224

It isn't piracy, it's theft. Piracy is a free distribution of data by the means of copying.


 No.913256

I'm making a needlessly complicated flowchart about the history of Gainax.


 No.913259

>>913227

You wouldn't download a cel.


 No.913283

>>913177

Haven't you heard all the news about the JP goverment cracking down on piracy?


 No.913285

>>913283

I don't know how much they need to crack down on piracy considering I don't think there's that much of it going on in Japan. As much as our happy merchant friends like to screech, piracy is really mostly just the realm of people who don't have access to the thing they're pirating in the first place, for economic reasons or otherwise. Japan is rich enough and their distribution systems are good enough that I don't think there's much use in pirating shit if you're a nip.


 No.913287

>>913285

>Japan is rich enough and their distribution systems are good enough that I don't think there's much use in pirating shit if you're a nip.

Then you just don't understand the point of piracy. Its not there because people are poor and can't afford stuff, its just one of many reasons.


 No.913290

>>913287

Piracy isn't that complex. Its purpose is basically twofold:

>to provide access to a thing that is otherwise unavailable either because it literally isn't sold to the consumer in question or because it's prohibitively expensive or difficult to obtain for the consumer in question

>to provide the consumer a way of fighting back against jewish business practices

The latter of the two isn't really acknowledged by most people. I haven't done the study, but I'm going to go on a limb and say there are more pirates in eastern Europe than western Europe. Gabe Newell once said pirates are just dissatisfied customers, and even though he and his company are evil at this point, I agree with that sentiment. Most people are brought up consumerist, and even I, even though I've been pirating all my life, enjoy the feeling of owning a legitimate copy of something if I feel it's worth my money and support. Japan has a high enough standard of living that entertainment is cheap and readily available. I don't see much incentive for them to go through the extra hassle of pirating it.


 No.913293

>>913290

>otherwise unavailable

Wrong. I can still pirate things I can buy in store and you know why? For example there is manga I consider to be meh but it still gives me subtle entertainment. I won't want to buy it just because of it and clog my house with books I barely care about. After reading it I would want to talk about it with others and some other person might check it out and actually like it enough to buy while if piracy wasn't there I simply wouldn't care enough to buy and wont give it free ad. I often pirate games that I don't consider to be all that good too, but I bought DMC5 just because I knew I would love this game even trough it was hacked almost right away. Also people pirate things to preserve them for collection, share rare things. Piracy is normal, it never hurt anybody, its core fucking concept sharing shit you own with others.

World with piracy is where you can buy a guitar and let 3 other people play it if they want to.

World without piracy is where you buy a bag that might contain guitar which you can't really own and you go to jail for letting others look at it.


 No.913295

>>913293

I'd say that falls under the second category. In a perfect world, we would have art be shared freely and then supported financially after the consumer already experienced it. If you could read a manga for free first, then decide if it's worth supporting financially or not, then you wouldn't need to pirate it.


 No.913297

>>913295

Also Japs enjoys reading manga in store without buying. Shouldn't it be considered piracy too?


 No.913298

>>913297

That's my point. I've seen seen manga websites that let you read the manga for free under a ちょっと立ち読み option but also offer the option to buy it, and as far as I could tell the reading option was completely free and unlimited. Clearly the nips aren't too worried about locking their entertainment behind paywalls. That's why I don't think piracy is as justified there.


 No.913616

>>912700

> Notenki Memoirs

Thank you for sharing this book. It was a very nice read. It's funny, that my otaku way was pretty much the same, even though it started a bit later in the different country and led me to the different destination.


 No.913703

>>913616

No, thank you for reading it. It wouldn't be a stretch to say I made this thread specifically to share this book. I don't want to have to explain myself when I say "otaku" or namedrop Okada, Akai, Yamaga (and how he "directs"). Or try to describe what early Gainax was like and why it was special.

Wouldn't you agree that it's required reading for an /a/non? It explains everything about where we come from, who we are, why anime is like it is, why anime was so SF, what OVAs are, what cons are and why they are important, what otaku should be doing, what making anime is like, and the list goes on and on. Reading Notenki Memoirs is like finally opening your eyes on the entire industry and it's so short to boot! Every /a/non needs to read it so we can discuss things at the same level.


 No.913765

>>913703

Honestly, I knew about ""otaku" or Okada, Akai, Yamaga" even before reading this book from the different sources. Like, when you watch anime for 15 years, and spend most of them talking about anime in /a/, you tend to become quite knowledgeable. But it confirmed some of my speculations, was filled with interesting trivia, like the origin of GAINAX name, and made me to feel the closeness with the creators of anime at the amount I've never felt before.


 No.913769

>>913765

Sure, of course that'd be the case, but it's a nice way for anons to quickly get up to speed on those things.

I've read the book about 3 times over now and every time I get something new out of it the more I experience on my own. For example, this time around, because I started going to cons myself, I've really grasped how important they have been through history and what Hiroyuki Inoue, and Okada mean when they've said how much they actually do like American cons and how they remind them of the old days, granted they're only looking at it from their side of the table.

Okada himself was the one who organized the first American anime con, so some of his passion can still be found there, I think. Still, his criticism still stands that Americans don't do anything with their passion like make fan films or doujin how they used to.


 No.913770

I'm about halfway or so done with my Gainax timeline flowchart. Just got to where Gainax was actually founded in 1985.


 No.913771

>>913769

> that Americans don't do anything with their passion like make fan films or doujin how they used to

This isn't quite true. There are plenty of fan films at the cons, I have been making a Star Wars film myself, when I was organising a local Sci-Fi con, and there are plenty of doujinshi, even though they tend to be digital-only and called fanfics.


 No.913964

More 2003 Gainax interviews.

http://www.evamonkey.com/inside_gainax.htm


 No.913980

>>913964

>when a company brandishing a famous manga approached GAINAX (names and title have been left out for obvious reasons). "Even though we thought we could do it and it was interesting and everything, I read it and said, 'OK, it'll definitely cost 100 million yen; it'll be 100 million for 40 minutes,'" he explains. "They told me, 'Do it for 20 million yen.' I said there's no way we can do it for 20 million, but if we had 100 million, we'd do it. They were all, 'What do [sic]you[sic] think, we're made of money? We can't pay that!' And then they left, taking their manga with them." He pauses. "OK, so they did it somewhere else, and sure enough, it cost 100 million yen."

What was it? Anyone know?


 No.913993

Anno interview in 1997:

https://www.gwern.net/docs/eva/1997-animeland-may-hideakianno-interview-english

I remember some of these quotes being quoted on /a/ for a long time.

>Originally, and even today, Japanese animation are products of ordinary [current/habitual] consumption, created for the Japanese public. It is indeed amusing to see the success of animation abroad, but I think that fans everywhere have the same tastes. Animation is a universal language.

>You need to understand that Japanese animation is an industry that is, for the most part, male, and as is quite evident, everything is made for their gratification. Further, it is more gratifying for us to draw this sort of character, rather than old grandmothers.

>It’s much easier. Characters in animation do not cheat. They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire.

>Japan has not known a war in nearly two generations, which is to say that we have more and more strong women, and men who become weaker over time.

>I am not familiar with many things in Christianity, and I have no intention of approaching it or criticizing it either. Isn’t it said that Lucifer was an angel himself before having fallen?

>I think that some censorship is necessary, but it is not normal that we should be ordered by a conventional minority. I do not think you can get away with anything for the so-called well-being and protection of children.

>Gainax examined my project for Evangelion and told me, “OK, you have carte blanche.” I have never been limited on anything, except perhaps time and money.

<AL: Where did you get the idea of the EVAs?

>HA: I was inspired by Japanese demons [oni]. I gave them a modern appearance, but such characters have been around a long time.

<AL: It seems that there exists a sort of recurring message in your series, that one cannot live alone, or even separated from a group or ethnic identity. Why this message, addressed to otaku, who live at the same time in a relatively separate world?

>HA: You can find whatever message you want to find in any film or series. I have not wanted to pass on this or that message in particular, but the fact that you reflect on this is a good one. I made Evangelion to make me happy and to make anime lovers happy, in trying to bring together the broadest audience possible.

<AL: What projects do you have after the two Evangelion films?

>HA: I admit that I have not thought about this a lot lately, but I already have a vague idea running through my head. I will begin to seriously work on it after August, and perhaps after a well-deserved vacation.


 No.913996

>>913993

>the two Evangelion films

I assume these are Death and Rebirth?


 No.914003

>>913996

Yes, I think he's referring to D&R and EoE.

I'm reading a different interview with Yamaga and Akai from 2002 right now, and what Akai said about about this last "I think I'll take a break" sentiment is kind of funny.

http://web.archive.org/web/20031205021525/http://anime-tourist.com/article.php?sid=298

>Since Evangelion was so successful. Gainax stopped making animation because.. well .. everybody was getting paid. When they noticed this, they realized that Gainax could no longer make animation because they had stopped making animation all together. In order to change the situation, Mr. Yamaga has come up with the projects for the 4 series. This is so Gainax can get into shape making animation again.

>Gainax as a group became very fat because of Evangelion and was really not able to move because of it, there was too dead weight. These projects are designed so that they can loose some of the dead weight. So they are in better shape to do some work.

These four titles are Mahoromatic, which is their last cel anime, Abenoboshi, Puchi Pri*Yucie, headed by Akai based on his Princess Maker games, and Boukyaku no Senritsu, which only had the title and was thought to be 14 episodes at this point. Somehow Kono Minikuku mo Utsukushii Sekai managed to fit in there, too.

I guess what they mean is no full-length TV anime, as they had just come off of FLCL at that point. In any case, I consider this period to be the start of the Bronze Age of Gainax, when Yamaga really started to try to make Gainax into a real animation studio. I think this shift is what eventually led Anno into leaving to make Khara.




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